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THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Cynthia Looks Ahead 

A Play in Two Acts^ with Prologue 
a?id Epilogue 



By 
GLADYS RUTH BRIDGHAM 

Author of "Mrs. Hayward's Help" etc. 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

i 9 i 8 



p 5 Z503 

• R53G? 

1^1 1? 



Copyright 1918 by The Penn Publishing Company 



APR 17(9, 



Cynthia Looks Ahead 

&a» 49358 



Cynthia Looks Ahead 



CHARACTERS OF THE PROLOGUE AND 
EPILOGUE 

Cynthia Payson - - a senior at Harding College 

Mrs. Melby an i?istmctor 

Annie Blakely maid 

CHARACTERS 

Cynthia Payson - ... actress 

Maisie Deane - known also as Florence Mayberry, 
editor of the "Millville Chronicle" 
Annie Blakely - - employed on the "Chronicle" 
Jvathekine Felton, M. D. 
Mrs. Elizabeth Glenning. 
Mks. Freda Cleveland. 
Mrs. Helen Ford. 
Mks. Melby. 
Rosette Shannon a mill hand 

Rosebud her child 

Lily Mrs. Glenning 's maid 

Time of Playing. — Two hours. 

Scene of Prologue and Epilogue. — A corridor in a 
dormitory at Harding College. Class Day. 

Scene of the Play. — Living-room in Mrs. Glenning's 
home, Millville. June, fifteen years later. There is sup- 
posed to be a lapse of two hours between Acts I and II. 

Notes.— If desired the Prologue and Epilogue may be 
omitted, Acts I and II making a complete though some- 
what less effective play without them, under the title "Rain- 
bow Hill." 

The parts of Cynthia, Mrs. Melby, and Annie in 
Prologue and Epilogue are taken by the persons who play 
those characters in Acts I and II. 



STORY OF THE PLAY 

Cynthia Payson, college senior, is trying to decide 
whether to accept an opportunity to go on the stage 
or to go home to her father, who needs her. She falls 
asleep, and, fifteen years ahead, sees herself a famous 
actress and guest of a classmate, Betty. Cynthia the 
actress is unhappy : — " I have made a god of success." 
Betty is hated by her husband's employees, who are 
striking and threaten to burn the house. Maisie 
Deane, another classmate, now a newspaper editor, 
makes Betty take the side of the employees, averting 
the danger. Cynthia, the actress, and Betty see they 
have been selfish. Cynthia, the college senior, wakes — 
" I will go to my father." 



COSTUMES, ETC. 

Cynthia Payson, No. I (Prologue). About 
twenty-one. She wears cap and gown. 

Cynthia Payson, No. 2 (Acts I and II). About 
thirty-six. On entrance wears traveling suit and hat. 
Changes in Act I to evening dress. In Act II she 
wears the same evening dress. 

Mrs. Melby (in Prologue). About thirty-five. 
Wears cap and gown over traveling suit, which she 
wears in Act I. Then she appears to be about fifty 
years old; powdered hair or wig. Wears hat and 
coat on entrance. Changes to sober evening dress, 
which she wears in Act II. In Epilogue wears cap 
and gown — the gown being slipped on over her even- 
ing dress. 

Annie Blakely (in Prologue). About twenty. 
Wears black dress, white apron and cap. In Acts I 
and II wears street suit and hat, and appears about 
thirty-five. 



PROPERTIES 5 

Matsie Deane. About thirty-six. She wears a 
tailor-made suit and simple hat. Her hair is white. 

Katherine Felton. About thirty-eight. On first 
entrance she wears a traveling suit and hat. 

Mrs. Elizabeth Glenning. About thirty-eight. 
In Act I she wears a pretty afternoon dress. Changes 
to evening dress. 

Mrs. Freda Cleveland. About forty. On first 
entrance she wears a traveling suit and hat. 

Mrs. Helen Ford. About thirty-five. On first 
entrance she wears a traveling suit and hat and carries 
a hand-bag. She changes later on to evening dress. 

Rosette Shannon. About twenty-eight. Wears 
a plain dark dress, gingham apron, and has a shawl 
thrown over her head. 

Rosebud. About six. Wears a simple little calico 
or white dress with a broad sash. 

Lily. About twenty. Wears a black dress, with 
white apron and cap. 



PROPERTIES 



Prologue. Unopened letters. Pencil and paper. 

Act I. Telephone. Bell on desk to ring off stage. 
Small knife. Bunch of flowers. Calling card. Note- 
book and pencil. Pill-box. Bell on desk. News- 
paper. Vase on desk. Pitcher of water and glass 
on table. Strip of linen for bandage. Bowl of water. 

Act II. Lamp with green shade on table. News- 
paper. Bandage. Child's dress. Sash. Revolver. 
Two small boxes supposed to contain " nerve 
powders." 



scene! plots 

Prologue and Epilogue 

Scene. — Corridor in dormitory, Harding College. 
Exit R. This scene requires only the extreme front of 
stage. Drop curtain (or row of screens may be 
used) to hide scene for Act I. Small table and two 
chairs down l. Pile of unopened letters on table. 
See lower part of the plan below. 




Acts I and II 



WfNDOH/ 

on 

Z>OoR 



□ D 

DESK 



[TABLE AA/D CHAIRS 
DROP OR SCREE* FOR PROLOG U£ Q f") Q 





Scene. — Room in Mrs. Glenning's home. French 
window or door with curtains up c. Doors r. and l. 
Desk up r. with vase, telephone, and call-bell up R. 
In Act II box of " powders " on desk, and revolver 
in drawer of desk. Table down l. a, with two chairs ; 
in Act I table holds newspaper, pitcher of water and 
glass. In Act II table holds lamp with green shade, 
and box of " powders." Couch down r. Other fur- 
nishings to make a handsome parlor or living-room. 

Epilogue 
Scene. — Same as in Prologue. Shut off scene of 
Act II by drop curtain or row of screens. 
6 



Cynthia Looks Ahead 



PROLOGUE 



SCENE. — Corridor of a dormitory — a drop curtain 
shoidd be used as near the front as possible. 

{Discovered: Annie Blakely. She stands by the 
table sorting the mail. Cynthia Payson enters, r.) 

Cynthia {crossing quickly to table down l.). Oh, 
Annie, you can tell me just what I want to know. Is 
there any mail for me? 

Annie {down l.). I think so, Miss Payson. 
{Looks over the letters.) Yes, miss, these are for 
you. {Hands letters to Cynthia.) 

Cynthia {quickly opening one of the letters). 
Thank you. 

Annie {starting toward exit R., hesitates, comes 
back a). Miss Payson, I — I — I want to 

Cynthia {down l., looking up). Yes, Annie? 

Annie (c). Before you went home I wanted to 
speak to you, and you're alone here now and I might 
not get such a good chance again. 

Cynthia {kindly). What can I do for you? 

Annie. Nothing, Miss Payson; I just wanted to 
thank you for what you have done for me. 

Cynthia. Oh, nonsense, Annie; I haven't done 
anything at all. 

Annie. Indeed you have, miss. There's many the 
time I've felt down and out, and just when I'd be 
thinking I couldn't stay here any longer, you would 
come along and say a kind word or do something kind 
for me. Out of all the young ladies you have been 



8 CYNTHIA LOOKS AHEAD 

the only one who seemed to know that I was a girl, 
too, and this was a hard place for me to work. I ain't 
coming back here next year, Miss Payson. I'm going 
out into the world to do something. I don't know 
what I am going to do, but coming here has made me 
want to get some education and find a way to make 
good. 

Cynthia (enthusiastically). Why, Annie, that's 
splendid! I am glad you have told me. (Hastily 
picks up a pencil from table and writes on a scrap of 
paper; hands it to Annie.) Here, take my address. 
Write to me and tell me what you decide to do, and, 
Annie, if there is any possible thing I can do to help 
you, I shall be very glad. 

Annie. Thank you, Miss Payson; that's just like 
you. 

Cynthia. We are in the same boat, Annie. I 
haven't the faintest idea what I am going to do. 

Annie. Whatever it is, and wherever you go, you 
will always take along sunshine and encouragement 
for others. 

Cynthia. Why, thank you, Annie. That's about 
the nicest thing I ever had said to me. Anyway, I'll 
remember and I'll try to live up to it. I wish I knew 
just what I am going to do, so you might know where 
to find me. I feel sure I might be able to at least 
help you to make a start at something. But you write 
to my home, Annie, and I hope we shall meet again. 

(Shakes hands with her.) 

Annie (gratefully). Thank you, Miss Payson; I 
3oe so. too. 



hope so, too. 



(Exit, r. Cynthia sits down by table l. and reads 
letter; sits lost in thought. Enter Mrs. Melby, r. 
Stops abruptly as she sees Cynthia.) 

Mrs. Melby (down r.). Oh, it is you, Cynthia? 
Are you quite tired out ? {Crosses i..) 

Cynthia (with a sigh). Yes, nearly dead. I just 
dropped down here to read my mail. (Eagerly.) 



CYNTHIA LOOKS AHEAD 9 

Mrs. Melby, did you ever get what you thought you 
wanted more than anything in the world, and then 
when you had it in your hand you weren't so sure 
after all that it was the thing you wanted? 

Mrs. M. (laughing). Yes. I think that happens 
to us all at times, but I can't remember that I ever had 
it happen concerning anything really important. You 
look as if it were a matter of life and death. 

(Sits r. of table.) 

Cynthia. I feel as if it is. It's a matter of my 
future. After my four years here I decided that I 
wanted a professional career, that I wanted to go on 
the stage. Now that I have the chance I am not sure 
it is the thing to do. (Hands Mrs. M. a letter.) 

Mrs. M. (looking the letter over). Of course you 
realize this is a very flattering offer. 

Cynthia. Yes, I have a friend in the profession. 
She used her influence. 

Mrs. M. And none of us who have watched your 
career in the dramatic club can doubt your ability to 
succeed. 

Cynthia. Yes, I believe I could succeed. 

Mrs. M. And I am positive you would like it. 

Cynthia. Yes, more than anything in the world. 

Mrs. M. Then, why hesitate? Are there other 
careers open to you? 

Cynthia (smiling). Yes. An offer of marriage 
from a chum of my childhood, and on the other hand 
an invalid father who would like to have me go home 
and live with him. Do you believe that is my duty? 

Mrs. M. Does he ask it of you? 

Cynthia. No, he doesn't ask it. He is willing I 
should do the thing I wish to do. (Impatiently.) I 
don't see why it is so hard for me to decide. The 
other girls have made their decisions so easily. Kate 
is to be a doctor. Betty and Helen have announced 
their engagements. I suppose you know about Betty's 
brilliant match? Mason Glenning, the wealthy mill 
owner. (Mrs. M. nods.) And Maisie goes home to 



10 CYNTHIA LOOKS AHEAD 

a farm to keep house for her father and three young 
brothers. She thinks that is her duty, and she is the 
honor member of the class. I have heard you say 
that she had a most brilliant future ahead of her. 

Mrs. M. Yes, that is true. 

Cynthia. Then is it right for her to bury herself 
and her talents on a farm ? Is it really her duty to do 
a thing like that? 

Mrs. M. I shouldn't dare to answer that question 
for you, Cynthia. Many a woman comes to the part- 
ing of those two ways, but she must make her own 
decision. I had to make mine. I made a wrong one 
and wrecked my life. 

Cynthia (astonished). You, Mrs. Melby? 

Mrs. M. Somewhere in the world, Cynthia, I have 
a daughter, not quite so old as you. I don't know 
where she is. I made a decision that cut her from my 
life. I didn't realize what I was doing at the time. 
I only followed my own inclinations, and did the 
thing it seemed to me the Creator had given me the 
talents to do. Do you think my success as an in- 
structor, even my success as a writer, can make up 
to me for the loss of my daughter? 

Cynthia (slowly). No one would ever guess you 
had anything like that in your life, Mrs. Melby. 

Mrs. M. I have no right to make the world share 
my sorrow. 

Cynthia. But this is only one case, and you really 
cannot judge by another's experience. 

Mrs. M. Certainly not. 

Cynthia. If I go back to father I know what will 
happen in the end. I might be father's companion for 
a few years, but in the end I should marry Ted. 

Mrs. M. It is for you to decide, dear. No one 
has a right to do it for you. 

Cynthia (wistfully). Oh, if we only could look 
ahead and see how it would all come out. If I could 
just look into the future years and see myself pass by. 

Mrs. M. (with a sigh). Yes, it would save many 
a heartache, and oftentimes the wrecking of innocent 
lives. (Rises and goes back of Cynthia's chair. 



CYNTHIA LOOKS AHEAD II 

Puis her arm about her and speaks affectionately.) 
Whatever you do, you must rest a while. You are 
quite worn out. 

Cynthia (rises, laughing). Oh, yes, I will take a 
vacation before I start on any kind of a career. 

Mrs. M. Was there mail for me? 

Cynthia (turning to table, takes up a letter and 
hands it to her). Yes, I think so. 

Mrs. M. Thank you. (Goes l. and pauses.) 
Think it over carefully, my dear. Take a good look 
ahead before you decide. 

(Exit, r.) 

Cynthia. A good look ahead. Oh, if I only could 
look ahead ten or fifteen years. Cynthia Pay son, 
actress! What will she be like, I wonder. (Goes l. 
and sits with arms on table.) Oh, I wonder. 

(Slowly drops her head on her crossed arms. After 
a slight pause curtain slowly descends. Cynthia 
withdraws. Drop curtain is quickly raised, or 
screens behind Cynthia are removed, small table 
and chairs at l. taken off stage, large table and 
chairs shown in Act I brought forward. Curtain 
then rises slowly, disclosing scene of Act I. This 
change must be made very quickly and quietly. 
The front curtain should be down not over a 
minute. ) 



ACT I 

SCENE. — Living-room in Mrs. Glenning's home. 
Exits r. and l. Large French window or door c. 
Table or desk with telephone r. c. Conch r., near 
front. Chairs and so forth. All furnishings should 
be luxurious. 

(As curtain rises Mrs. Glenning stands by window 
c, looking out. Telephone rings. She goes to desk 
and sits in chair.) 

Elizabeth. Hello ! Yes, this is Mrs. Glenning. 
(Effusively.) Oh, how do you do, Mrs. Mason! 
Yes, isn't it a delightful day? So nice and cool for 
this time of year. It's usually so warm the last of 
June. (Pause.) Oh, Mrs. Mason, that is perfectly 
sweet of you and I should simply love to go, but it is 
quite impossible. You know, Mr. Glenning has gone 
out of town and I have seized an opportunity to enter- 
tain some of my old classmates, Harding, 19 — . Yes, 
here at Rainbow Hill. Yes, it doesn't seem pos- 
sible that fifteen years have passed. (With a depre- 
catory laugh.) It makes me feel quite aged. There 
were just a few of us who were so intimate. You 
know how it always is — and we haven't met for ages, 
in fact, I have never seen my roommate in all these 
years. Who do you suppose she is? (Pause.) 
Cynthia Payson. Yes, the actress. Yes, she is really 
coming to our little town. I used to know her so well, 
and now she is such a star that I really dread to meet 
her. Oh, no, they are not all stars. There is one who 
is a doctor, but the others are quite ordinary, I assure 
you. They did just the usual things — marriage and 
children, with the mumps and toothache. Oh, thank 
you, Mrs. Mason. Yes, I expect to enjoy seeing them 
all again. (Enter Lily, r. Sees Elizabeth; hesi- 
tates.) Yes. Good-bye! (Rises.) Well, Lily? 
12 



CYNTHIA LOOKS AHEAD 1 3 

Lily (at door r., embarrassed). I beg your par- 
don, Mrs. Glenning, but — but 

Elizabeth (r. c). Yes, Lily, what is it? 
(Anxiously.) Has anything gone wrong? 

Lily. No, ma'am. I just wanted to ask you — 
(hesitating) will Mr. Glenning be gone long? 

Elizabeth (surprised). Why, three or four days, 
I think. Why do you wish to know? 

Lily. I shouldn't have thought he'd have gone just 
now, ma'am. 

Elizabeth (astonished). What in the world do 
you mean ? 

Lily. I — I think it's right for you to know, ma'am. 
There's trouble at the mills. They're goin' to strike. 

Elizabeth (walking l.). Nonsense! I have 
heard that before. 

Lily. They mean it this time, ma'am. 

Elizabeth. Well, I'm sure it is no concern of 
mine. I am not at all interested in the mill people. 

Lily. My father works there, Mrs. Glenning. 

Elizabeth. I believe I have heard you say so 
before. 

Lily (coming a). He knows how the hands feel 
toward your husband, how they feel toward you. 
You have been kind to me, ma'am. I can't know you 
are in danger and not warn you. 

Elizabeth (l. c, scornfully). Danger? Don't 
worry about that. We can have protection in five 
minutes. Don't think for a minute that I am afraid 
of the mill hands. There will be no strike, Lily. (A 
bell rings off l.) They are always talking about a 
strike. (Glances out the window up c. as she finishes 
speaking. Lily starts toward door l.) I'll go, Lily. 
It's the florist's boy, and I want to see if the flowers 
are right. 

(Exit, l. Lily follows her to door, listens a second, 
softly closes door, and goes quickly to telephone 
up r. c. ) 

Lily. Millville— 255. Yes! (Pause. She looks 



14 CYNTHIA LOOKS AHEAD 

toward door L.) Hello! Yes, father, this is Lily! 
(Speaks cautiously, glancing over shoulder toward 
door.) Mr. G. has gone — three or four days. Yes. 
One thing I demand of you — that is protection for his 
wife. I have done everything you have asked of me. 
You must do that for me. She has been kind to me. 
I have warned her, but she doesn't believe what I say. 
She is having a house party, and she won't listen to 
anything. You must find a way to get her away from 
here. What? Cut the telephone wires? I? No, 
no, I can't promise to do that! You know I am in 
sympathy with you. Very well! (Desperately.) I 
will do it. Yes, of course, on the outside. Good-bye. 

(Glances at door l., comes quickly down to table, l. c, 
opens a drawer, takes out a knife, opens it and tries 
the blade. Bell rings off l. Elizabeth hurries in 
l., her arms full of flowers. Lily hastily conceals 
knife under her apron.) 

Elizabeth (l. c, smiling at her over the flozvers). 
Answer the bell, Lily. (Exit Lily, l. Exit Eliza- 
beth, r., with flozvers. Reenters without them as 
Lily reenters l., with a card, which she hands to 
Elizabeth. Elizabeth, down r., looking at card.) 
Florence Mayberry — Millville Chronicle. Dear me! 
Show her in, Lily ! 

(Exit Lily, l. Reenters with Maisie Deane.) 

M aisle (coming r. to Elizabeth). This is very 
gracious of you, Mrs. Glenning. I assure you I 
appreciate it. 

Elizabeth. Not at all, Miss — er — (glancing at 
card) Mayberry. Won't you be seated? 

(Lily moves a chair forzvard. Exit, c.) 

Maisie (as she takes the chair). Thank you. I 
understand that you are about to entertain a party of 
your college classmates. 

Elizabeth (sitting on couch down r.). Why, yes, 



CYNTHIA LOOKS AHEAD I 5 

a few who were especial chums, you know. (In 
deprecatory manner.) It surely isn't of enough im- 
portance to 

Maisie (r. c, gently interrupting). Whatever you 
do is important to Millville. We are most anxious to 
have an advance story for the Chronicle. Later a 
more elaborate account of the entertaining. Let me 
see, Harding College, wasn't it? (Produces note-book 
and pencil.) Your class, if you please? 

Elizabeth (trying not to show that she is 
flattered). Oh, well, if you insist — 19 — (or she 
names a date fifteen years back from the present year). 

Maisie (taking notes). And the names of the 
ladies you are to entertain? 

Elizabeth. Well, Mrs. Freda Cleveland of Brook- 
lyn has already arrived. 

Maisie. Interested in Suffrage? A leader, is she 
not? 

Elizabeth. Dear me, yes, I believe so ! Some- 
thing of the kind — but do you have to mention it ? All 
their dreadful stump speaking and hiking is so very 
repulsive to me. 

Maisie. To you, perhaps. Some people are very 
much interested, you know. 

Elizabeth. Yes, I suppose so, but for my part 
I'd leave the lawmaking to the men. Then, there is 
Mrs. Helen Ford of Washington, Dr. Katherine 
Felton of Springfield, Mass., Mrs. Olivia Melby of the 
Harding College faculty. 

Maisie (looking up with sudden interest). Is she 
coming ? 

Elizabeth (not noticing her interest). Yes, and 
(impressively) Cynthia Pay son. 

Maisie (making notes rapidly). The actress? 
v Quite the star of the occasion, I suppose. 

(Bell rings off l.) 

Elizabeth. Yes, indeed. 

Maisie (looking over her notes). You formed a 
little clique of your own in college, I suppose? 



l6 CYNTHIA LQOKS AHEAD 

(Elizabeth nods.) Did you succeed in getting all 
together who belonged in the group? 

{Regards Elizabeth intently.) 

Elizabeth (slowly). No, there was one I couldn't 
locate. I made an honest effort to do so, and I think 
perhaps it is just as well that I didn't succeed. She 
has never married, and she hasn't done anything — 
anything worth while, you know, and of course a girl 
who doesn't marry and doesn't make good 

(Shrugs her shoulders.) 

Maisie (with a sarcastic little smile). Is quite 
impossible. 

(Elizabeth is quite unconscious of Maisie's attitude.) 

Elizabeth. Yes, quite. 

( Lily enters, l. ) 

Lily (at door l.). I beg your pardon, ma'am, but 
Dr. Felton 

(Enter Katherine Felton, l. Maisie goes up c.) 

Katherine. Has arrived! 

Elizabeth (going l. and greeting her, brings her 
c). Kate! Where did you come from? Surely it 
isn't train time? 

Katherine (coming a). No. I am a few min- 
utes ahead of the train. I spent the night with a 
friend in Sutton, and motored over this afternoon. 

Elizabeth (r. c, turns to Maisie, who stands 
watching Katherine with interest). Dr. Felton, 
Miss Mayberry of our local paper. She will be glad 
to meet you. She has already been writing us up. 

(Maisie rises.) 

Katherine (lightly). So soon? (Shakes hands 
with Maisie.) I'm glad to meet you. 

Maisie. Thank you. (Katherine gives her hat 
and coat to Lily, who comes c. to get them.) I have 



CYNTHIA LOOKS AHEAD I J 

all I need here, Mrs. Glenning. (Refers to note- 
book.) I can make a very good advance story. I 
will see you again if you will be so kind? 

Elizabeth (affectedly). I suppose it is inevitable. 
(Goes to window up c. and throws it open.) You 
can go out this way, Miss Mayberry. 

Maisie (as she exits, a). Good-afternoon. 

Elizabeth (up c, turning to Katherine). Lily 
has taken your things? Would you like to go right 
up to your room? 

(Lily goes to door l.) 

Katherine (l. c). No hurry, is there? I have 
a little advantage over the others. Let us gossip 
a while. 

Elizabeth (up a). Delighted, I'm sure. (As 
Lily is about to exit.) Oh, Lily, did you remind 
John that he is to meet the four- forty-five? 

Lily. Yes, ma'am. He has gone to the train. 

(Exit, l., with Katherine's coat and hat.) 

Elizabeth (coming down c. and leading Kath- 
erine to couch down r. ; they sit). You had a 
pleasant trip over, Kate? 

Katherine. Delightful. The country around here 
is beautiful, and Millville is a charming little village. 

Elizabeth. I'm glad you think so. I dare say it 
looks very well to strangers, but it gets pretty monoto- 
nous, I assure you. Mason is so tied to his business, 
and he dislikes to have me go out of town without him. 
There are a few of us who work hard to make a 
social life here. We have quite an exclusive little 
set, and this last year we have organized a Woman's 
Club, and I have the honor of being its first president. 

Katherine. That's splendid, I'm sure. Betty, 
did you succeed in getting all our little clique together? 

Elizabeth. All but Maisie. I couldn't locate her. 
Freda is already here. 

Katherine (surprised). She is? 

Elizabeth. Yes, she came last night. She has 



l8 CYNTHIA LOOKS AHEAD 

gone out to explore the village and insisted upon walk- 
ing. She is very queer, Kate. You know she always 
had strange ideas, and I don't know that I am sur- 
prised that she has gone in for suffrage. Don't you 
remember that she always said there was nothing on 
earth that a man could do, a woman couldn't do just 
as well if she tried? 

Katherine (smiling). Maybe that's true, Betty. 

Elizabeth (scornfully). Maybe it is! Kate, 
have you ever seen Cynthia since we graduated? Off 
the stage, I mean? 

Katherine. Yes. She came to one reunion. It 
was the year she had created such a sensation as 
Rosalind, and she was quite the star attraction, not 
only for our class but for the whole college. I don't 
believe I saw her alone for two minutes. Then I saw 
her again in New York on the stage and in her dress- 
ing room. 

Elizabeth. She is a great actress, of course. 

Katherine. Wonderful. 

Elizabeth. What is she like, Kate? Has she 
changed very much? I used to fairly worship 
Cynthia, and now I am dreading her arrival. 

Katherine. I could scarcely judge in so short a 
time as to how much she had changed, but I don't 
believe you need to dread her. She is immensely 
pleased with herself as an actress, but somehow I 
don't believe she is so well pleased with herself as a 
woman. 

Elizabeth. Kate, how odd you are! Do you 
think Cynthia is two distinct persons? 

Katherine. We all are Dr. Jekylls and Mr. 
Hydes, but we aren't honest enough to admit it. 

Elizabeth. What a perfectly extraordinary idea! 
(Bell rings off l. She rises quickly.) Oh, I wonder 
if they have come! (Crosses to door L., very much 
excited.) Yes, they have, Kate! 

(Exit, hastily. Several women are heard talking off L. 
Elizabeth reenters, l., followed by Mrs. Melby, 
Mrs. Helen Ford and Cynthia Payson. Lily 



CYNTHIA LOOKS AHEAD 19 

enters l. and takes their wraps. Katherine comes 
forward to greet them.) 

Cynthia {coming down r.). Kate, why did you 
give us the slip ? 

Katherine (r.). I embraced an opportunity to 
,visit an old friend in the next town. How fortunate 
that you were able to come, Cynthia, and you, too, 
Mrs. Melby. Of course it is easy for the rest of us, 
but we realize how hard it is for you. 

(Lily exits, l., with their wraps.) 

Helen {coming down l. to table, indignantly). 
Well, if you think it is easy for me to leave John and 
my three cherubs you are mistaken. John Junior is 
just getting over the whooping cough. Emily has it, 
and of course the baby will take it. I never saw such 
children to take things. They have had every namable 
disease and some un-namable ones. My nerves are 
worn to shreds. {Looks about.) It's time for me to 
take a pill. {Takes box from hand-bag and takes a 
pill.) I really hope you don't mind, Betty. I'm a 
regular walking apothecary shop, but I couldn't come 
any other way. 

Elizabeth {up a). We are glad to have you, 
Helen, any way that you could come. 

Mrs. M. {coming down l. of table). You haven't 
any children, Betty? 

Elizabeth. I hope not! {Quickly to Helen.) 
I beg your pardon, Helen, I didn't mean that as per- 
sonal, but you know I never understood children, and 
I have no patience with them. I really believe Mason 
thinks it might be amusing to have some, and perhaps 
it would be — for him. 

(Katherine and Cyntliia sit on couch down r.) 

Helen. That's just it, amusing for him. Men are 
all alike. The children are just like golf for John. 
Tie plays with them in the morning before he. goes 
away, and at night when he gets home, and that's all 



20 CYNTHIA LOOKS AHEAD 

he knows about them; but I don't do any playing, I 
can tell you. I'm caddy all the time ! 

(Sits r. of table.) 

Cynthia (wistfully). Don't you love your chil- 
dren, Helen? 

Helen (astonished). Love them? What a per- 
fectly imbecile question, Cynthia ! I worship the 
ground they walk on. 

Mrs. M. (smiling). And you are delighted because 
you have such a fine family. (Sits l. of table.) 

Helen. Why, of course. I guess I am proud of 
my children, and I certainly have cause to be. I wish 
you could see them. Emily is a perfect little beauty, 
and I've got the brightest baby you ever saw. Only 
a year and a half old and she can talk almost as plain 
as I can. And John Junior ! I haven't any words to 
describe him. The things that boy says and does in 
just one day would make a book, and I tell you it 
would be good reading. 

Cynthia (laughing) . It seems to me you play as 
good a game of golf as your husband. 

Mrs. M. (to Elizabeth). Shall we dress for dinner 
at once, Betty? 

Elizabeth (up c). Why, it might be just as well, 
I should think. Of course you wish to get rid of the 
train dust as soon as possible. I will ring for Lily. 
(Rings bell on desk.) We will go right up. 

(She leads the way to door l. They all exeunt, talk- 
ing as they go. Slight pause.) 

(Enter Lily, c. Gives a quick look about the room. 
Maisie comes to windozv c, looks in, hesitates a 
second, enters. Lily comes to table l. c.) 

Maisie (at windozv up a). Lily! 

Lily (r. a, turning zvith a start). Oh, it's you, 
Miss May berry? 

Maisie (coming down a). What were you doing 
out there, Lily? 



CYNTHIA LOOKS AHEAD 21 

Lily (slightly agitated, but trying to speak 
naturally). Me, miss? I was just going to — to cut 
some — some roses for the dinner table, but (placing 
knife on table L. c.) this knife isn't sharp enough. 

Maisie (a). The ladies arrived? 

Lily. Yes, Miss Mayberry. 

Maisie. They are dressing for dinner? 

Lily. I think probably. My bell rang. 

(Looks uneasily toward door, l.) 

Maisie. I wish to see Dr. Felton alone, without 
any one's knowing it. I thought this might be a good 
time. Will you speak to her for me? And not say 
anything to Mrs. Glenning? 

Lily. Of course I will, Miss Mayberry. There's 
not a man, woman or child on the east side who 
wouldn't be glad to do anything for you. 

Maisie. You count yourself on the east side? 

Lily. I sure do ! I work on the west side, but my 
home is in my father's house on the east side. 

Maisie. You have a good home here, Lily. Mrs. 
Glenning treats you well. 

Lily. Yes, miss. (Significantly.) It's a pity she 
wouldn't treat others as well as me. 

(Exit, l. Maisie stands a, looking after her thought- 
fully. Comes to table, takes up knife, examines it. 
Annie comes to a, looks in, enters hurriedly.) 

Annie (at window). Miss Deane! 

Maisie (turning quickly). Sh ! Careful! 

Annie (coming r. c. to Maisie). I beg your par- 
don, Miss Mayberry. I saw you come in here and I 
wanted to speak to you just a second. I heard that 
Mr. Glenning is out of town, and I'm afraid there's 
going to be trouble. Johnny Lloran just told me that 
he heard his father say the men in the mills are going 
out. 

Maisie. Perhaps it's only more talk, Annie, but it 
wouldn't surprise me if it happened at any minute. 

Annie. It's bound to happen when a man takes 



22 CYNTHIA LOOKS AHEAD 

Mr. Glenning's stand. Miss Deane, did you notice 
Lily out there by the corner of the house? 

Maisie. Yes, I did. What was she doing, Annie? 

Annie. She looked as if she were cutting the 
telephone wires. 

Maisie. That's what I thought for a minute, but 
I think we must be mistaken. I can't see any reason 
for her doing a thing like that. Annie, Mrs. Glenning 
is entertaining some of our class. You remember 
some of the girls, of course? 

Annie. I remember Miss Payson. {Eagerly.) 
Is she here? 

Maisie. Yes, she is up-stairs dressing for dinner. 

Annie. Oh, I should like to see her! I hoped I 
should again some time. She was always kind to me. 

Maisie. And Mrs. Melby is here. Annie, I want 
you to do something for me, do it at once. You know 
Rosette, who works in the mill? 

Annie. Yes. 

Maisie. And you know where she lives? Over 
on East Road? (Annie nods.) I want you to go 
over there and bring her little girl, Rosebud, over here 
to Rainbow Hill. 

Annie {surprised). To this house? Will her 
mother let her come ? 

Maisie. I think so, if you say I sent for her. If 
the mother isn't there persuade the child some way. 
Get her over into this neighborhood and then send 
her in here alone. I know it sounds queer, but it must 
be done. I can trust you, Annie, so I will explain and 
then you will understand how important it is. Rosette 
is Mrs. Melby's daughter. 

Annie {aghast). Miss Deane! 

Maisie {hurriedly with a glance tozvard door l.). 
It was by merest chance I found it out. It would be 
impossible to get Rosette into this house, and I haven't 
the least idea what Mrs. Melby's feeling is toward 
her. Rosette told me once that she had a mother 
living but she'd had trouble with her and never heard 
from her. So you see if Mrs. Melby could see her 
grandchild something might be accomplished. Now, 



CYNTHIA LOOKS AHEAD 23 

don't slop to look surprised, Annie. Just use your 
wits, and do this for me. 

Annie. All right. I'll bring her if I have to pick 
her up bodily and lug her all the way. 

(Exit, c. Maisie walks to window c. and stands 
looking after her. Katherine enters, l. Looks 
about doubtfully. Discovers Maisie.) 

Katherine (l. a). I beg your pardon. ■ Is it you 
who wishes to see me? 

Maisie (c, turning with a smile). Yes, Kate. 

Katherine (r. c, astonished). Why — who 

(Suddenly recognizing her.) Oh, Miss — er — (hesi- 
tating) the reporter, isn't it? 

Maisie. I must have changed indeed. (Goes r. c. 
to Katherine and puts her hand on her arm, looking 
up at her.) Look deep into my eyes, Katy mine! 
Who am I ? 

Katherine (with a cry, throws her arms around 
her). Maisie! Maisie Deane ! 

Maisie (zvarningly). Hush! I don't want the 
others to know. 

Katherine (surprised). You don't want the girls 
to know ? 

Maisie. No, I shouldn't fit in with the girls now. 

Katherine. Nonsense, Maisie ! Why, you belong 
with us. Betty tried to locate you. 

Maisie (with a cynical smile). I didn't marry, and 
I haven't done anything brilliant to make up for such 
unpardonable stupidity on my part, and so I am utterly 
impossible. Ask Betty. 

Katherine (impatiently). I never heard any- 
thing so absurd. Why, the girls would be wild if they 
knew you were here and wouldn't let them know. 

Maisie. Yes, no doubt they would be interested to 
know what I was doing here. 

Katherine (abruptly). Well, what are you do- 
ing? 

Maisie (laughing). You haven't changed a bit, 
Kate. I have had something on my mind for some 



24 CYNTHIA LOOKS AHEAD 

time that I have been wondering how I could accom- 
plish. When I heard that you were coming to Mill- 
ville I decided that you should do it for me. 

{Leads Katherine to couch down r. They sit.) 

Katherine. I hope it is something I am equal to. 
You know how glad I should be to do anything in my 
power to help you. Maisie, what has happned to you 
to make such a change ? 

Maisie. A long and serious illness turned my hair. 
(Impatiently.) I don't w r ant to talk to you about my- 
self. I want to talk about Betty. When I came to 
Millville to work on the Chronicle my first impulse 
was to come to see Betty and renew old times. Some- 
thing I heard the very day I came changed my mind. 

Katherine. What did you hear, Maisie? 

Maisie. That Betty had developed into a society 
woman with one idea in the world — to spend her hus- 
band's money in the way most pleasing and flattering 
to herself. 

Katherine. Oh, surely that was an exaggerated 
story ! 

Maisie. No, it was not. You remember that 
Betty was always a butterfly, and it was almost im- 
possible to interest her in a serious side of life. Her 
husband's money has given her every chance to indulge 
her foolish ideas and fancies, and that has been all 
she has done in fifteen years. Kate, while you are 
here will you try in some way to awaken her to a 
sense of duty toward her husband? 

Katherine (aghast). What do you mean ? Surely 
they are not unhappy ? There is no trouble ? 

Maisie. No, they are very happy together, very 
devoted to each other — but, Kate, she takes absolutely 
no interest in his business beyond what money he 
draws from it. He is hated by every man and woman 
who works for him, and she is hated even more than 
he is. He is a hard man and never scrupulous in 
keeping his agreements with his help. Don't you see 
how all this might be changed if he had a wife who 



CYNTHIA LOOKS AHEAD 25 

took an interest, and influenced him to do the right? 
A strike is imminent unless there is a change. You 
could not wonder if you walked through the east side 
and saw the people, the places they live in, the misery. 
Betty, reveling in the wealth earned by these poor 
mortals, doesn't know there is an east side ! 

Katherine. Surely, you must be in some measure 
mistaken. Betty was always a little selfish, I'll admit, 
and loved luxury more than anything else, but she 
must take an interest in some things besides herself. 
She told me to-day that she is president of the 
Woman's Club, and surely you know the splendid, 
broad-minded kind of women who make up the 
Women's Clubs of our country. 

Maisie. Not in Millville, Kate, at least, not yet. 
Not while Betty leads. (Rises and goes to table l. c.) 

Katherine. Why, I can't believe 

Maisie. Kate, it's the absolute truth. I came here 
to-day and made an excuse to see her, thinking I 
might venture to say something to her. (With a bitter 
laugh. ) I talk to her ? Why, she would as soon listen 
to a worm in the dust. Her vanity was flattered be- 
cause I came. She should have been ready to have 
had me ordered from her grounds. (Indicating a 
nezvs paper on the table.) Read the Chronicle! See 
what we think of existing conditions. She doesn't 
even know that the Chronicle is her husband's greatest 
enemy. (Comes down r. to Katherine.) Talk to 
her, Kate ! Wake her up ! If you don't she will have 
a dreadful awakening — and before long! 

Katherine. Heavens, Maisie, something besides 
your hair has changed! Why, we used to call you 
little Mousie instead of Maisie, and now you actually 
frighten me to death. 

Maisie (with a short laugh). Well, you aren't the 
first woman to be frightened by a mouse. 

(Starts toward exit c.) 

Katherine (desperately). D-don't go, Maisie! 
You so evidently expect me to do this, and I — I — don't 



26 CYNTHIA LOOKS AHEAD 

know how I'm going to. Betty is my hostess. I 
think anyway Cynthia could do it better than I. Betty 
was always so fond of Cynthia. 

Maisie. Is that your judgment? It wouldn't be 
mine to trust anything really important to any one 
who gives her entire life to pleasing the public. Of 
course, do as you like. I am not used to physicians 
who try to dodge their duty. 

(Exit, c.) 

Katherine (looking after her and drawing a long 
breath). Whew! 

(Rises, goes to table L. c, picks up paper, sits by table 
and becomes absorbed in paper. Cynthia enters, 
L., unnoticed by Katherine.) 

Cynthia (coming down back of Katherine and 
putting her hand on her shoidder). How good it 
seems to see you again, Kate! 

Katherine (turning quickly). Not half so good 
as it seems to see you — here. You seem so much more 
human off the stage. You are happy in your pro- 
fession, Cynthia? 

Cynthia (turning away). I am happy in my suc- 
cess. I'm not saying what I think about the pro- 
fession. You are still in love with yours, I suppose? 

Katherine (enthusiastically). Yes, I love my 
profession above all things. 

Cynthia (looking about). Betty has a charming 
little home here. I had a chance once to have one a 
good deal like it, I fancy. (Musingly.) I wonder if 
I could possibly have taken kindly to life in a humdrum 
village like this? Betty seems happy and perfectly 
satisfied with herself. 

Katherine. Yes, she does, and I sadly suspect 
she has no right to be. 

Cynthia (surprised). Why, what do you mean? 

Katherine (handing her newspaper). Read this. 
See what it says about the conditions existing in her 
husband's mills and among his people. If it is true, 



CYNTHIA LOOKS AHEAD 27 

I 

even one-half of it, she has no right to be happy or 
satisfied. 

(Cynthia takes paper, becomes absorbed in it. Enter 
Elizabeth, r. As Elizabeth talks Cynthia looks 
curiously from her to the paper.) 

Elizabeth (as she enters). Oh, you are down so 
soon? Why, Kate, you haven't dressed for dinner 
yet ? 

Katherine (very much confused, glancing down 
at her dress). Why, no, I haven't! My goodness, I 
forgot that I hadn't changed ! I — I — came down to — 
to — look for — for — my little hand-bag. I must have 
dropped it somewhere, and — and — I got so interested 
in an article in your local paper that I forgot that I 
hadn't dressed. I'll go right up. 

Elizabeth (sitting on couch down r.). No need 
to hurry if you don't wish to. Freda hasn't come in 
yet. 

Katherine. Then I will wait for her. Betty, that 
Chronicle is quite a paper. 

Elizabeth (carelessly). Is it? I read the social 
column. It came very near an untimely death, but 
just as it was about to draw its final breath a stranger 
came to town and took it up. There has been quite 
an excitement about M. Deane. 

Katherine (startled). Who? 

Elizabeth (down R.). M. Deane, the man who 
edits the Chronicle. Mason, I know, wished to inter- 
view him about something or other. He sent for him 
to go to his office and then tried to have him come 
here, but he is quite independent and Mason has never 
yet seen M. Deane. It is odd. Most newspaper men 
would have sense enough to get on the right side of a 
man like my husband. I fancy there will be an end to 
M. Deane before long. Mason seems to have taken 
a dislike to him for some reason and (laughing) 
Mason has a way of getting rid of any one he doesn't 
want around. 

Cynthia (c). You are very fond of your" hus- 
band, Betty? (Looks at her curiously.) 



28 CYNTHIA LOOKS AHEAD 

Elizabeth. Oh, yes. Why shouldn't I be? He 
gives me everything on earth I want. 

Cynthia. Of course you are interested in the 
mills and the people? 

Elizabeth. Indeed I am not ! The mills have 
closed doors as far as I am concerned, and all I ask 
of the mill people is that they stay away from me. 
(Cynthia and Katherine exchange a look.) Did 
you notice that vase? {Drawing Cynthia's attention 
to a vase on desk.) Mason's sister brought that to 
me from Italy. 

Cynthia. Yes, I noticed it. It is very beautiful. 

{Enter Helen and Mrs. M., l., in evening dress.) 

Mrs. M. {crossing to couch down R.). Freda 
hasn't come in yet, Betty? 

(Helen comes dozvn l.) 

Elizabeth {rising, goes up c. to window and looks 
out). No. I can't imagine what she is doing. She 
certainly isn't lost in a place as small as Millville. 

Helen {opening a little box). I think it is time 
for a powder. {Goes to table down l. and takes up a 
pitcher.) Is this drinking water, Betty? 

Elizabeth {looking at her rather impatiently). 
Yes. (Helen mixes powder and takes it.) If ever 
any of you knew what I have suffered with my nerves. 
{With a sigh.) I hope you never will know. 

{Sits in chair l. of table.) 

Mrs. M. Betty, did you invite Maisie? 

{Sits on couch down R.) 

Elizabeth {up a). Yes, I tried to, but my invita- 
tion came back to me. Don't any of you know any- 
thing about her? {They all shake their heads.) We 
should certainly have heard of it if she had married 



CYNTHIA LOOKS AHEAD 29 

and, poor thing, I don't suppose she ever had any 
chance ,to accomplish anything. Anything worth 
while, you know. 

Mrs. M. I — I heard a story about her. You can 
have it as it was given to me. When she graduated 
she sacrificed all her ambitions and went back home to 
a farm. She kept house in a wilderness for her 
father and three small brothers. Her father died from 
some contagious disease. She stayed with him to the 
end and he died in her arms. She contracted the 
disease and nearly lost her life. After she recovered 
she still stayed on to bring up the boys. Three years 
ago she went out into the world to take up work of 
some kind. I couldn't find out what. She is educat- 
ing the boys. They are all in college, but I couldn't 
find out which college. I can't seem to get a clue to 
lead me to her. I would give anything to see her. I 
think the woman with the courage to sacrifice her own 
desires and give her life to those who need her is 
decidedly worth while. 

Katherine. I agree with you. 

Elizabeth (up c, hastily). Oh, well, of course 
Maisie may be wonderful, but she hasn't done the 
things we hear about, like — like Cynthia, you know. 

Cyntliia (bitterly). It isn't the things we hear 
about that count for the most, I assure you. 

Freda (outside). Betty! Betty! 

Elizabeth. There's Freda at last! (Runs to 
window and calls.) Freda! Come in this way! 

(Freda staggers into the room, c, carrying Rosebud 
in her arms. Rosebud is unconscious. They all 
spring to their feet with a cry of " Freda! What is 
it?" Gather about her.) 

Freda (a little dazed). Oh— have you all come? 
All. Poor little dear! What is the matter? 
Where did you get her ? 



(Elizabeth stands up c. by window and looks on 
impatiently. ) 



30 CYNTHIA LOOKS AHEAD 

Freda (appealingly). Cynthia, you always knew 
what to do ! 

Cynthia {doubtfully). But what is it? Is she 
hurt ? Kate ! 

Katherine. Let me have her! {Places her on 
couch, r.) What was it? An auto? 

Freda {coming to couch). No, a drunken beast. 
{Anxiously.) She isn't dead? 

Katherine {examining Rosebud). No, indeed. 
Betty, ring for a maid. 

(Elizabeth rings bell on desk up r. Katherine 
gives her attention to child; others turn to Freda.) 

Elizabeth. Where in the world have you been? 

Freda {coming c). Over on the east side. {To 
Elizabeth.) Do you know that the men in your 
husband's mills have declared a strike? 

Elizabeth {up a). Nonsense! 

Freda. Nonsense? When the whole east side is 
in a turmoil? 

Elizabeth {helplessly). Why — why — it's impos- 
sible ! 

Mrs. M. {up l., startled). Is there danger? 

Helen {vaguely feeling about on table down l. c). 
Where are my nerve pills ? 

{Enter Lily, r. She comes down c.) 

Katherine. Bring me water and old linen quickly. 

Lily {suddenly discovering child). Why, it's 
Rosebud ! 

Elizabeth {quickly). Do you know the child? 

Lily. Yes, ma'am. Her mother works in your 
husband's mills. 

Elizabeth {indifferently). Oh, one of the mill 
children ! 

Lily {interested). Why, how did she 

Katherine {interrupting curtly). Get the things 
I asked for at once ! 

Lily. Yes, ma'am. 

{Exit, r.) 



CYNTHIA LOOKS AHEAD 3 I 

Cynthia (hanging over the couch). Isn't she a 
perfectly dear little thing? 

Mrs. M. Where did you get her, Freda ? 

Freda. She was down on the corner just below 
here. She was so cute I stopped to speak to her, and 
she was coming here. 

All. Here ? 

Elizabeth. For goodness' sake, why? I thought 
the mill people knew enough to stay away from this 
house. 

Freda. A man came across the street. She 
seemed to know him. She ran to him and called him 
Joe. He gave a curse and struck her down. Then I 
saw he was intoxicated and I snatched her up and 
tried to run. At first I thought he was following me. 
I am not the least bit brave, and I thought I should die 
before I got here. 

Helen (r. c). You — you spoke of a strike. One 
hears such dreadful things about strikes. 

(Lily enters, r., with linen and bowl of water. She 
stands by the couch as Katherine begins to work 
over the child, putting bandage on head.) 

Mrs. M. (up l.). Couldn't we get help, Betty? 
The police ? 

Elizabeth (up c). Why, yes, if it is necessary. 
I'll telephone to the station and see if I can learn the 
particulars. I am sure Freda's needlessly alarmed. 
(She goes to telephone. Annie comes to door c, 
steps quietly inside, unnoticed by all.) Well, what in 
the world! (Impatiently.) I can't get any response. 

Annie (stepping forward). Your wires have been 
cut. 

All (turning in astonishment). What? 

Helen (r. of table r. c). I think I had better 
take another pill ! 

Elizabeth (to Annie). Who are you? What 
do you mean ? 

Annie. Mrs. Glenning, you are in gravest danger. 
The men have declared a strike, and they mean mis- 



32 CYNTHIA LOOKS AHEAD 

chief. They intend to be revenged not only on the 
tyrant who rules over them but on his wife as well. 
You will find little sympathy in the entire village. 
Even your maid has cut you off from help. 

Elizabeth (with a cry of astonishment). Lily? 

Lily (defiantly). How do you dare 

Annie (interrupting). No use in that, Lily. You 
cut the wires. You sent word to your father that Mr. 
Glenning had gone. (Lily makes a quick move to- 
ward door r.) Don't let her leave the house! Keep 
her a prisoner here. (Cynthia steps in front of 
door r. Mrs. M. quickly steps in front of door L. 
Lily gives a shrug of her shoulders and goes back to 
couch.) Get your chauffeur into the house. 

Elizabeth (at table r. a). Dear me! Shall we 
have to stay here in this house? Like rats in a trap? 

Annie (c. ). To leave now would be the utmost 
folly. The business section of Millville hasn't heard 
of the strike yet, and the mill hands have all the streets 
around here cut off. I am going to get help for you. 
I know the mill people, and they don't suspect me of 
helping you. It may be some time before I can get 
any one here. In case of an attack hide in some part 
of the house until help reaches you. It will surely 
come. I will not fail you. 

Elizabeth (r. c). But who are you? Why do 
you come to my aid? 

Annie (a). I do not come to yours. You are a 
selfish, cold, heartless woman, and I despise you as 
much as the poorest hand who works and slaves to 
help furnish you with the luxury with which you are 
surrounded. I came because Miss Cynthia is here. 

Cynthia (at couch, asionisJicd). Because I am 
here ? 

Elizabeth (with an astonished echo). Miss 
Payson ? 

Annie. No, not for Miss Payson. I only know 
her by reputation. You don't any of you remember 
me. I am Annie Blakely. 

Cynthia (stepping forward). Why, I remember 
you ! Mrs. Melby, you remember, too ! You must all 



CYNTHIA LOOKS AHEAD 



33 



remember ! Annie, who worked in our dormitory at 
college ! 

All. What ? Impossible ! Why, it is ! 

Annie. I hoped we might meet again, Miss 
Cynthia, and oh, how I hoped I should be able to do 
something to repay you for all your kindness to me. 
(Moves toward door c.) The time has come! 
(Turns and looks back at them, one hand on the door 
as she is about to exit.) I am doing this for the 
Cynthia Payson I used to know. 



CURTAIN 



ACT II 

SCENE. — Same as Act I. Half light. Dark cur- 
tains have been drawn over the window c. A lamp 
on the table is shaded by a green globe. Freda sits 
r. of table down l., looking over nezvspaper which 
is spread out on the table. Cynthia stands at win- 
dozv up c, holding the curtain back as she cautiously 
looks out. 

Freda. See anything? 

Cynthia {coming down to table). No. It is dark 
as ink out there, and absolutely quiet. 

Freda. Cynthia, it is quite impossible that things 
could be in such a condition and Betty ignorant of it. 
It isn't possible that she hasn't read this paper. 

Cynthia. It is quite possible. She didn't read a 
word of it until I showed it to her. Betty didn't want 
to know anything about the mill troubles. It is easy 
to be deaf to what you don't want to hear. 

Freda. And just see what she might have saved 
herself if she hadn't been deaf and blind. And yet 
half the world laughs at us for urging the women of 
the country to take an interest in the industries and 
affairs of their state, their city. 

Cynthia. You have scored a point, Freda. (Im- 
patiently.) No doubt that will give you the utmost 
satisfaction even if we are sacrificed on the altar of 
your pet theory. 

(Walks uneasily about the room, goes to window, 
pulls back curtain and looks out again.) 

Freda. Well, you don't act as if you cared whether 
you were sacrificed. Why do you keep opening those 
curtains ? The darker the house is the better. 

Cynthia. I don't see why. If they decide to 
34 



CYNTHIA LOOKS AHEAD 35 

come in and make our acquaintance I don't believe a 
dark house will prevent them. For my part I had 
just as soon they would come. If it were not for the 
rest of you I should welcome anything that would put 
me out of my misery. (Comes down to l. of table.) 

Freda (in astonishment). What do you mean? 

Cynthia. Just what I say. Do you imagine that 
I am happy? 

Freda. I supposed you were one of the happiest 
women in existence. What more could you possibly 
ask in the way of success? 

Cynthia. Nothing ; but do you suppose that brings 
happiness ? 

Freda (vaguely). Why, I am proud of my career 
as a suffrage leader. And what success we have ob- 
tained has made me very happy. 

Cynthia. You are a married woman. You have 
children, haven't you? 

Freda. Yes, two. 

Cynthia. And if you had to choose between a 
career and your family, what would you choose ? 

Freda. Why, my choice as well as my duty would 
lie with my family. 

Cynthia. Freda, I sacrificed everything to my 
own personal desire for success. I threw over the 
man whom I led to believe I would marry when I 
graduated. My father was an invalid — a helpless 
cripple. I was purposely blind to the fact that he 
needed me. I left him to the care of strangers. Left 
him to die without the care of the daughter on whom 
he had lavished love, devotion, money. I made a 
little god of success, and knelt at his feet and wor- 
shiped him. It was all I wanted. My name in electric 
letters on Broadway, and the applause of the vast 
throngs, meant more to me than the love of a father, 
a husband, little children. 

Freda (alarmed at Cynthia's manner). But, my 
dear, each of us has her right to choose a career. 

Cynthia. But we have no right to put it first. I 
left college with high ideals. I believed I could follow 
a career and still be true to myself. I started out with 



36 CYNTHIA LOQKS AHEAD 

the words of Annie Blakely ringing in my ears — 
" Wherever you go, whatever you do, you will always 
take along sunshine and encouragement for others." 
Such a thing was possible. I could have done it, but 
love of Cynthia Pay son blinded me, and one by one 
my high ideals were crushed out by success. I hate 
myself to-night more than ever before, for Annie has 
brought back to me a vision of Cynthia Payson, a girl 
I used to know. 

(Katherine enters, l., leading Rosebud. She has 
bandage on forehead. ) 

Freda. Oh, the little girl is all right? 

(Rises, goes up c.) 

Katherine. Yes, indeed. (Laughing.) She just 
had a bad dream, that's all. 

Cynthia (gathering Rosebud in her arms and 
sitting down l. of table). How do you feel, dear? 

Rosebud (shyly, putting her hand to the bandage 
on her head). My head is too tight! 

Katherine. It will feel all right in a few minutes. 

(Elizabeth and Mrs. M. enter, r. Katherine goes 
up c.) 

Freda (anxiously). Any news? 

Elizabeth (coming down r. and sitting on couch). 
No, but I think we may feel safer. There are seven 
men in the house, if worst comes to worst. My 
chauffeur managed to get some of my neighbors here. 
From what they say I think the neighbors are more 
worried than we are. 

Mrs. M. (going to table l. c. and sitting). I can't 
think that anything serious will really happen. It all 
seems so unreal to me. 

Freda (a). It isn't often that the strikers do any 
very serious damage. It takes so much longer to come 
to a settlement afterward. Of course there is a Union, 
Betty? 



CYNTHIA LOOKS AHEAD 



37 



Elizabeth (swallowing painfully). Don't ask me. 
I don't know anything about it. You can all see how 
ignorant I am of the affairs at the mills. It can't be 
possible that Mason realized 

Mrs. M. (interrupting kindly). No, of course he 
didn't. (To Cynthia.) How fond you are of chil- 
dren, Cynthia ! 

Cynthia (hugging Rosebud). I adore them. 

Freda. Little girl, who was that man you spoke 
to ? And why was he so cross to you ? 

Rosebud. It was Joe. He lives in the house we 
live in. He used to be good to me. Mamma says I 
mustn't care when he is cross, 'cause he has been 
turned out of the mill and he can't get any w T ork. 

Elizabeth (in defence). No doubt he deserved 
to be. 

Rosebud. Oh, no, mamma says he didn't. He 
tried to take the part of some of the mill girls. You 
know, Mr. Glenning 

Katherine (up c, hastily interrupting). Hush, 
dear ! You mustn't say anything about Mr. Glenning. 
(Indicating Elizabeth.) This is his wife. 

Rosebud (sitting up very straight). It is? And 
is this his house? 

Katherine. Yes. 

Rosebud (struggling to get away from Cynthia). 
Then, I must go. Mamma wouldn't want me to be 
here. We are not wanted in this house. 

Elizabeth (with a catch in her voice). Yes, you 
are, dear. I don't want you to feel that way. I am 
very glad to have you here. 

Rosebud (settling back). Oh, lots of folks will be 
surprised when I tell them that. 

Cynthia (trying to save the situation). Rosebud's 
dress is wet. You must have done that, Kate. 

Katherine. Yes, I did. I spilled some water. I 
tried to dry her. Of course there isn't a dress in the 
house that would lit her. 

Elizabeth. I'm not so sure of that. Wait a 
minute. 

(Exit, r., hastily.) 



38 CYNTHIA LOOKS AHEAD 

Mrs. M. {going to couch down r. and sitting). 
Poor Betty ! I'm glad if something will take her 
attention for a few minutes. 

Freda. Why do you say " Poor Betty " ? I'm sure 
she is to blame for the position she is in. 

Mrs. M. All the more in need of sympathy. She 
could bear it a great deal better if some one else were 
responsible. 

Cynthia {giving her a quick look). You under- 
stand that, too ? 

Mrs. M. I surely do, Cynthia. Freda, I have just 
come from Helen. Will you go and sit with her for 
a while ? You know the condition of her nerves. She 
is nearly crazy about her children. She is quite sure 
nothing short of murder awaits us. 

Freda. What's the sense? I have children, but I 
am not going to lie down and ask you all to stand over 
me while I worry about them. I have no patience 
with nerves. 

Mrs. M. Freda! 

Freda. I leave it to Kate if there is one thing the 
matter with Helen. 

Katherine. Oh, I wouldn't say there is nothing 
the matter with her, but it is plain to be seen that 
Helen is one of the women who enjoys poor health, 
and wants every one else to enjoy it with her. 

{Comes down r. to Mrs. M.) 

Freda. Now, don't look at me that way, Mrs. 
Melby. I'm going. 

{Exit, r. Cynthia gathers Rosebud up and crosses 
r. to Mrs. M.) 

Mrs. M. {with a long breath). Well, girls? 

Katherine {quickly). Mrs. Melby, you think we 
are in danger? You have been pretending to be 
cheerful ? 

Mrs. M. I — I don't know. I'll admit I am wor- 
ried. Do you realize how much time has passed since 
Annie left us? It seems to me we should have had 



CYNTHIA LOOKS AHEAD 



39 



help before this, unless the situation is serious. You 
see, I can confide in you girls. I know how strong 
you are. 

Cynthia. Don't call me strong, Mrs. Melby. 
Miss Cynthia Payson is the weakest of the weak. 

Mrs. M. (smiling). I am like Annie. I do not 
know Miss Cynthia Payson. 

Cynthia (fervently). I am glad you don't. 

Mrs. M. While Betty is thinking of something else 
I am going to talk with some of the neighbors who 
have come in, and see what they think of the situation. 

(Exit, l.) 

Cynthia (with a long breath). Kate, if Mrs. 

Melby is worried 

Katherine (glancing toward door, r.). Hush! 

(Elizabeth enters, r., with a little dress which she 
hands to Cynthia.) 

Elizabeth (hurriedly). I thought I had some- 
thing. This is all of thirty years old. It belonged to 
a sister of Mason's who died. It was among some of 
her things which he has kept. I must go up to Helen. 
She is having hysterics, and Freda is having a dread- 
ful time. 

(Exit, r.) 

Cynthia (holding up dress). Isn't this dear, 
Kate ? 

Katherine. Yes, I can remember that I had one 
something like that once. Rosebud, let me put on this 
pretty dress. (Rosebud gets down from Cynthia's 
lap. They take off her dress and slip the other one 
on.) I always did love to dress a doll. 

Cynthia. Rosebud is a perfect one. Doesn't she 
look old-fashioned? 

Katherine. Just like a little picture, if the bandage 
didn't spoil the effect. 

Cynthia (pulling sash from Rosebud's own dress). 
Cover it with ribbon. (Puts ribbon over the bandage; 



40 CYNTHIA LOOKS AHEAD 

rises, leads Rosebud c. and poses her against the dark 
curtain by window, c.) There! Behold a work of 
art! 

(Steps 'aside. Mrs. M. enters, l. ; sees Rosebud; 
gives a cry; starts forward.) 

Mrs. M. Rosette, my child ! 

(Gathers Rosebud into her arms.) 

Cynthia (up r. c, astonished) . Why, Mrs. Melby, 
what is the trouble ? 

Mrs. M. (trying to control herself). It is the little 
girl, isn't it? 

Katherine. Why, yes, we dressed her up. 

Mrs. M. She looks so like my own little girl. 
She used to have a dress just like this (leads Rosebud 
down c. ) , and the band on her hair makes the picture 
perfect. 

Katherine (down r.). Why, we didn't know you 
had a little girl. 

Cynthia (r. c). I knew. Mrs. Melby told me 
long ago. 

Katherine (gently). Did she die? 

Mrs. M. (a). I do not know. She ran away to 
marry a man I didn't approve of. I never could trace 
her. I didn't do my duty by her. I thought home life 
was humdrum and of little importance compared with 
the success that was in store for me as a writer and 
instructor. Can you imagine what I have suffered ? 

Cynthia. I can. 

Mrs. M. I would give every atom of my success 
cheerfully for one word from Rosette. 

Rosebud (looking at Mrs. M., puzzled). My 
mamma ? 

Mrs. M. Your mother? Is her name Rosette? 

Rosebud. Why, yes. 

Mrs. M. Rosette what? What's her other name? 

Rosebud. Mamma. Just Rosette and mamma. 

Mrs. M. What's your other name? Rosebud 
what? 



CYNTHIA LOOKS AHEAD 41 

Rosebud. I haven't any other name. Just mamma's 
Rosebud. 

Katherine (trying to help out). Perhaps she 
doesn't want her to know. Where's papa? 

Rosebud. He went away a long time ago, and now 
Joe would like to be my papa, but mamma says he 
can't. 

Mrs. M. (c). And your mother works in the mill? 

Rosebud (down r. c). Yes, and takes care of her 
little Rosebud. 

Cynthia (r. a). Rosebud, why did you come 
here to-day? You said your mother wouldn't wish 
you to come here. Why were you coming? 

Rosebud (suddenly looking troubled). Oh, I 
know ! I forgot ! I was going to help mamma. I 
came for the pot of gold. 

All (surprised). For what? 

Rosebud. The pot of gold. Annie said it was at 
the foot of the Rainbow. 

Mrs. M. (astonished). What does she mean? 

Katherine (suddenly). I believe I know. This 
is called Rainbow Hill, and this house is at the foot 
of the hill. 

Cynthia. Why, the poor little thing! 

Rosebud (anxiously). Do you think I shall find 
it in this house? 

Mrs. M. I — I don't know. I hope so. I — I am 
not sure that you haven't found mine for me. Girls, 
I must speak to Betty, and see if her maid can tell me 
any more about Rosebud. 

(Exit, r., with Rosebud.) 

Katherine (at couch down r., abruptly). Cynthia, 
it has been all of two hours since Annie left this 
house. She is certainly having trouble in getting any 
help. 

Cynthia (r. c). I am afraid so. Kate, it would 
be a good idea if some of us were armed. I hate to 
ask Betty about it. She is nearly crazy anyway. 
Where do you suppose Mr. Glenning would be likely 
to keep firearms? He surely must have some. 



42 CYNTHIA LOOKS AHEAD 

Katherine. In every room in a house like this, I 
should think. How about the desk? 

Cynthia (going up r. to desk). I think I am 
justified in a case of this kind. 

Katherine. Oh, don't have any scruples. Go 
through the desk by all means, and then we will try 
the other rooms. I wonder we didn't think of it 
before. 

Cynthia (looking through the desk). Well, of 
course we don't any of us really think there is danger. 

Katherine (scornfully). Of course not, but we 
believe in preparedness. (Rises, goes up c, looks out 
through curtain, c.) Cynthia, I think there are men 
just below this terrace. 

Cynthia. More than likely. (Holds up a re- 
volver.) Here's one, Kate, and loaded. (Katherine 
takes revolver.) Come! We will try some of the 
other rooms. 

(Exeunt, l. Helen and Freda enter, r.) 

Helen. I think you are very unsympathetic, 
Freda. 

Freda (going to table down l. and sitting in chair 
r. of table). I am sorry, Helen, but I never could 
see where the good came in worrying about things. 

Helen (going to desk up r., takes a powder from a 
box and mixes it). Nervous people are always mis- 
understood. I imagine all kinds of things. I can see 
these dreadful mill creatures coming in here and 
murdering us all in cold blood. 

Freda. I could see worse things than that if I took 
the amount of pills and powders that you do. 

Helen (with a sigh). Nobody knows how I 
suffer! (Takes powder.) 

Freda (impatiently). Well, you know yourself, 
which must be some consolation. 

Helen (wildly). Mercy! What have I taken? 

Freda (startled). What do you mean? 

Helen (her hand on her stomach). That powder! 
It isn't mine ! It is sour ! What was on that table ? 



CYNTHIA LOOKS AHEAD 



43 



Freda {frightened) . Why, I don't know! 

(Rises and goes to Helen.) 

Helen. I'm poisoned ! My stomach is all burning 
up ! Oh, what shall we do ? I'm dying ! 

(Runs out, r., followed by Freda. Runs in again, 
followed by Freda and Elizabeth.) 

Elizabeth. What is it? What did you say? 
Helen. I'm dying! I have taken poison! 

(Rims out, l.) 

Elizabeth (c). Freda, is it true? Has she at- 
tempted suicide? 

Freda (l. c). Suicide? Nothing! She took a 
powder there on the table. She declares they weren't 
her powders. Did you have anything you were 
taking ? 

Elizabeth. No! There isn't a powder in the 
house. (Picks up her box from table down l.) 
These must be hers ! 

Freda (taking another box from the table up R. ). 
No, I think these are hers ! 

Elizabeth. Well, where did these come from? 
Do you suppose she is really poisoned? 

(Runs out, l., followed by Freda. Helen runs in, l., 
followed by Mrs. M., Elizabeth and Freda.) 

Helen. I'm burning up ! Telephone for help ! 
(Runs r. c. to the telephone.) Oh, the wires are cut! 
I forgot ! I shall go mad ! 

(Runs out, r. All follow. Reenter, followed by 
Cynthia.) 

Cynthia. What is it? What has happened? 
Helen. I'm dying! 

(Runs out, r. All follow, running single file. 
Reenter; cross room; exeunt, r.) 

Cynthia. Find Katherine! (Reenter, l., all fol- 



44 CYNTHIA LOOKS AHEAD 

lowing. Exeunt, r., leaving Cynthia in the room.) 
This is perfectly ridiculous ! Kate ! 

(Katherine enters, l.) 

Katherine. What is it? What has happened? 

Cynthia (a). Come quickly to Helen! She has 
taken poison ! 

Katherine (l. c, quickly). What kind? Where 
did she get it? 

Cynthia. On the table. She took a powder. 
She thought it was one of her own. Her stomach 
is burning up. 

Katherine. Her imagination is burning up! 
Those powders are all right for a baby to take. I 
gave one to Rosebud. 

Cynthia {grabbing Katherine by the arm and 
pulling her out, r. ) . Come and tell her quickly ! Be- 
fore she goes insane ! 

{Exeunt. Lily enters, l., after a slight pause, fol- 
lozved by Elizabeth.) 

Elizabeth. What is it, Lily ? What has happened 
now? It's one thing after another! I never saw 
anything like it ! 

Lily {going to window, c, pulls the curtain back 
and looks cautiously out; comes back to c). You 
must leave this house at once, Mrs. Glenning. There 
isn't a minute to lose. It isn't safe any longer. 

Elizabeth (a). Leave? Why, it isn't safe to 
leave, is it? 

Lily (l. c). It is safer to leave than it is to stay. 

Elizabeth. I don't understand you. What do you 
mean? 

Lily. I can't tell you that, ma'am, but I'm telling 
you to leave. 

Elizabeth. How? 

Lily. There is a way. 

Elizabetli. A way to leave this house that would 
be safe? 

Lily. Safe for you and for me. 



CYNTHIA LOOKS AHEAD 45 

Elizabeth. Just for us? Not for the others? 

Lily. Yes, ma'am. 

Elizabeth. And do you think I would go from 
this house leaving my friends here ? 

Lily. I can take you. I can't take the others. 
They wouldn't let us go. 

Elizabeth. How should I know that you could 
take me? Do you believe I could trust you after 
knowing that you cut my telephone wires? 

Lily. I had to do that. I was pledged to my 
father and to the cause; but they promised to let me 
take you from the house. 

Elizabeth. Why should we go from the house? 
What are they going to do ? 

Lily. I can't tell you that. 

Elizabeth. Indeed? Don't you suppose I am 
bright enough to see through a plan to get yourself out 
of this house ? 

Lily. It isn't, Mrs. Glenning. Indeed it isn't. 
You are in danger, and I am trying to save you. 
Won't you believe me ? It is sure death if you stay in 
this house. (Grabs Elizabeth by the hand.) You 
shall come with me! (Pulls her toward door, l.) 

Elizabeth (struggling to get away from her). 
Girls! Help! Cynthia! Mrs. Melby! Come! Quick! 

(Cynthia enters, R., closely followed by Katherine.) 

Cynthia (running to them). What are you trying 
to do? (Lily drops Elizabeth's hand and makes a 
dash toward door, l. Cynthia is too quick for her; 
grabs her by the arm and pulls her back.) Give up! 
There are too many of us here for you to do any more 
damage. You did quite enough when you cut off the 
telephone. 

Lily (sullenly). I was trying to help Mrs. 
Glenning. 

(Freda enters, r., with Mrs. M., leading Rosebud 
and Helen. Helen comes down r.) 

Freda. Were you calling us, Betty? 



46 CYNTHIA LOOKS AHEAD 

Elizabeth {up a). Yes. Lily says we are in 
danger, and she will not tell what the danger is. She 
was trying to induce me to leave the house with her. 

Lily (l.). I can save Mrs. Glenning. I can't 
save the rest of you, and for that reason she won't go 
with me. 

Cynthia (l. c). Save her from what? 

Lily {defiantly). That is my business. 

Katherine (r. c, suddenly stepping forward and 
pointing revolver at her). It is ours, too. (Lily 
shrinks back; Helen screams.) Now tell what you 
know. What is the danger? 

Lily. They are going to set the house on fire. 

Elizabeth {with a cry). No! 

Katherine. How do you know? 

Lily. My father works in the mill. He is one of 
the leaders among the hands. I knew their plans. I 
have been watching for a signal. It came about five 
minutes ago. 

Katherine. A signal for what ? 

Lily. To take Mrs. Glenning out of the house. 
They promised me to save her when I promised to 
help them. 

Mrs. M. (r.). I believe she speaks the truth, Betty. 
You had better go at once. 

Elizabeth. Go? Do you think I would go and 
leave you all here? 

Mrs. M. (r.)- What good can you do us if you 
stay? 

Elizabeth. I don't know that I can do any, but I 
am not a deserter. I don't wonder that you think I 
am likely to think of my own safety first, but this time 
I am going to think of myself last. If any one goes 
it should be Helen. She has three children. 

Helen {dozvn r.). Do — do you think I would 
trust myself with that fiend? {Indicates Lily.) I 
consider nryself safer to stay right here. 

Maisie {outside, laps at the window, c. ; calls 
softly). Let me in! Let me in! Quickly! 

Elizabeth {as they all turn toward the window). 
Who is that ? 



CYNTHIA LOOKS AHEAD 47 

Lily. It's Miss Mayberry. Oh, do let her in ! 

Elizabeth {doubtfully). Whom did you say ? 

Lily. Miss Mayberry. On the Chronicle, you 
know. 

Elizabeth (hesitating). Well, how do I know if 
she is friend or enemy? Certainly if what I read in 
the Chronicle is any guide, she is coming in to ex- 
plode a bomb. 

Katherine (r. c). I don't believe so, Betty. I 
liked the appearance of Miss Mayberry. I should let 
her in. 

Mrs. M. (r.). Oh, Katherine, are you sure? We 
must not make any mistakes. 

Maisie (tapping at window). Mrs. Glenning! 
Please let me in ! I want to help you ! 

Katherine. Let her in, Betty. If she is an enemy 
I'll shoot her in less than a second. 

Elizabeth. We-11, if you think best. 

(Goes to window reluctantly; opens it just wide 
enough for Maisie to enter; closes it quickly.) 

Maisie (up c). Tell me the situation quickly. 
I'll do what I can to help. I know Annie has gone to 
get help for you. 

Elizabeth. My maid says the men are going to 
fire the house. 

Maisie. That is true, Lily? 

Lily (l.). Yes, ma'am. 

Maisie. That is why these men are gathering down 
here below the terrace? 

Lily. Probably. 

Katherine. What can we do, Miss Mayberry? 

Maisie. Mrs. Glenning, supposing I could per- 
suade the men to give up this murderous idea and wait 
for Mr. Glenning's return and an orderly settlement, 
what could be expected from you? 

Elizabeth. From me? I'm afraid I don't under- 
stand. 

Maisie. Would you be willing to take the side of 
the mill people? 



48 CYNTHIA LOGICS AHEAD 

Elizabeth {unhesitatingly). Yes. 

Maisie. Even against your husband? 

Elizabeth. Yes. He is wrong. I am wrong. 
He must see it after what has happened to-day. If 
he doesn't I will do all in my power to make him see 
it, and I will be a friend to every one of his employees 
as long as I live. 

Maisie. Good ! Lily is a witness for the east side 
to what you say. I will come back as soon as I can. 
I will do the best I can for you. 

Katherine (r. c, anxiously). Where are you 
going? 

Maisie. To talk to the men. 

Elizabeth. No, no ! We appreciate all you would 
do for us, but it is not safe. 

Maisie. Perfectly safe for me. 

{Exit, c.) 

Mrs. M. (r. c). Girls, that is Maisie Deane. I 
am sure of it. 

Cynthia (l. c). What? Impossible! 

Elizabeth. Why, it can't be. 

Katherine. Yes, it is. I talked with her this 
afternoon. 

Freda. And that was why you wished to let her in ! 

Helen {down r., wildly). And we have let her 
go out there alone ! Little Maisie. 

Cynthia. I shouldn't worry about that. Little 
Maisie looked to me as if she could take care of 
herself. 

Lily. She can. There isn't a man, woman, or 
child on the east side that would hurt a hair of her 
head. She is a friend to them all, and she can help 
you if any one on earth can. 

Katherine. Lily, do you know if she is the editor 
of the Chronicle? 

Lily. Yes, ma'am, she is. 

Elizabeth {suddenly). Why, of course! M. 
Deane ! 

Lily. And Miss Blakely works for her. 



CYNTHIA LOOKS AHEAD 49 

Cynthia. Maisie? Little Maisie? It doesn't 
seem possible. 

Rosette Shannon (at window a). Mrs. Glen- 
ning! Mrs. Glenning! Please let me come in! I 
am Rosebud's mother. 

Rosebud (delighted). My mamma! 

(Elizabeth opens window. Rosette enters. Eliza- 
beth quickly closes zvindow again.) 

Rosette (somewhat embarrassed). I beg your 
pardon, Mrs. Glenning. I just met Miss Deane and 
she said my little girl was in here. I heard she was 
hurt this afternoon, and I have been nearly crazy. 
(Rosebud runs to her. Rosette catches her in her 
arms.) Darling! You are all right? 

Elizabeth (gently). Yes, we have a doctor here, 
and your little girl has been well cared for. 

Rosette (gratefully) . Thank you, Mrs. Glenning. 

Mrs. M. (stepping forward and speaking with an 
effort). Rosette! 

Rosette (turning with a cry). Mother! 

(She stands staring at Mrs. M., then darts forward 
and throws herself into her arms. ) 

Helen (down r., astonished). Well, I must 
say 

Elizabeth. Oh, nothing that could happen now 
would surprise me. I am prepared for anything. 

(Enter Annie, l.) 

Annie. Hail, the conquering hero comes ! 

All. Annie ! 

Elizabeth. Where did you come from? 

Cynthia. How did you get in? 

Annie. In the front way, without any difficulty. 
(To Elizabeth.) Your chauffeur admitted me. 
You are safe, Mrs. Glenning. I have been a long 
time and I had hard work to get to a place where I 
could send a message. The mill people have frfends 
everywhere — even in the telephone exchange. A tele- 



50 CYNTHIA LOOKS AHEAD 

gram has been sent to Mr. Glenning, a large delega- 
tion of police from Jackson is in Millville, and die 
militia from the same city are on their way. 

Cynthia (going l. and taking Annie's hand). 
What can we say to you, Annie? 

Annie. Don't say anything, Miss Payson. Keep 
all you would say for Miss Deane. It is she who has 
saved you. We would have been just too late. She 
stopped the men from firing the house. 

All. How? How did she do it? 

Annie. Told them Lily was in here — and Rosette's 
child. That stopped them and gave her a chance to 
talk. They always listen to her, and she always says 
the right things. I didn't stop to listen. I thought 
you would want to hear the good news. 

Maisie (outside). Open! 

Elizabeth (running to window and letting Maisie 
in). I guess we will open! 

(Throws her arms around Maisie, while the others 
gather around.) 

All. Maisie ! Maisie Deane ! 

Maisie (reproachfully to Katherine). You told 
them? 

Katherine. Not I. Mrs. Melby recognized you. 
Just think, girls, she didn't want me to tell you she 
was here. She made the most foolish talk you ever 
heard about not fitting in with us because she hadn't 
made good. Imagine ! I should like to make good 
the same way. 

Elizabeth. I know why you felt that way, Maisie, 
when I think of what I said to you this afternoon ! 

Maisie. Don't think about it, Betty. 

Elizabeth. Indeed I shall think about it. Think 
about everything that has happened to-day. I never 
wish to forget as long as I live. Don't you suppose I 
know how you must all feel toward me? And not 
one of you has said a reproachful word. You have 
all been so brave and ready to face with me the dread- 
ful situation in which my selfishness has placed you. 



CYNTHIA LOOKS AHEAD 5 1 

Oh, how I hate myself ! I was so satisfied with Betty 
Glenning when I invited you here, and now I can 
hardly tolerate her. I have seen to-day in a sudden 
and terrible awakening the person she ought to be, 
and all the rest of my life shall be a working toward 
that ideal. 

Cynthia {going to Elizabeth and putting her 
arms around her). And you will not be the only one 
who is working, Betty. I, too, have discovered my 
ideal. The woman who really counts in the world is 
the one who puts self second and duty first. 

Mrs. M. {with her arms around her daughter and 
grandchild) . Girls, if that is the case, I am not the 
only one who here at the foot of the rainbow {smiling 
down at Rosebud) has found the pot of gold. 

{The curtain slowly falls. Quick change of furniture. 
Small table and two chairs dozvn l. as in Prologue, 
and behind them drop curtain or screens to hide 
scene of Act II. Cynthia, as in Prologue, takes 
seat at table down l., head on arms. Curtain dozvn 
not more than a minute.) 



EPILOGUE 

(Curtain, rising slowly, discloses Cynthia at table 
down l., head on arms.) 

Mrs. M. (entering r., hastily). Cynthia! Cynthia! 
Are you still here? 

Cynthia (slowly lifting her head). Yes, Mrs. 
Melby. 

Mrs. M. (c). Dear me, Cynthia, have you been 
asleep ? 

Cynthia (rising slowly and looking about uncer- 
tainly). Yes, I believe I have. 

Mrs. M. (laughing) . I believe you have, too. You 
are wanted at once. The girls are looking everywhere 
for you. I told them I wasn't sure, but I thought I 
could find you. (Goes to her and gives her an af- 
fectionate shake.) This is a great time to be sleeping ! 

Cynthia (putting her arm about Mrs. M.). Mrs. 
Melby, before we go down, you may be interested to 
hear that I've decided. I am going home to my father 
to-morrow, and stay with him as long as he lives. 
After that I cannot say what I shall do, but I am going 
to do my duty first. 

Mrs. M. Cynthia, Fm so glad ! I'm sure you will 
never regret it, that you will find true happiness in 
traveling the long road. But, Cynthia, you haven't 
allowed anything I said to influence you? 

Cynthia (standing with her arm about Mrs. M.). 
No, Mrs. Melby, nothing that you said. (With a far- 
away look in her eyes.) I have Looked ahead a little 
and have seen myself pass by. 



curtain 



52 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
bination of a real "entertainment," including music, recitations, 
jetc, with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. Price, 15 
cents. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. Price, 15 cents. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 
Price, 15 cents. 

THE DISTRICT CONVENTION, A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
^scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. Price, 15 cents. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five femaie 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Unusually Good Entertainments 

Read One or More of These Before Deciding ©n 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
School," "Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. Price, 15 centSv 

JONES VS. JOCKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. Price, 15 cents. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. Price, 15 cents. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. Price, 15 cents. 

THE OUB MAIDS' ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. Price, 25 cents. 

BARGAIN BAY AT BEOOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVZNE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. Price, 15 cents. 

SISTER MASONS. A Burlesque in One Act, by Frank 
Dumont. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets cf a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia San ford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, -furnish 
an evening of rare enjoyment. Price 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



The Power of 1 



LIBRARY OF CONGRESS 

null 



Expression and efficiency go hand in 

The power of clear and forceful e ® 018 603 679 7 

dence and poise at all times — in private gatherings, in public 
discussion, in society, in business. 

It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought, we learn to command 
thought itself, and thought is power. You can have this 
power if you will. 

Whoever has the power of clear expression is always sure 
of himself. 

The power of expression leads to: 

The ability to think "on your feet" 

Successful public speaking 

Effective recitals 

The mastery over other minds 

Social prominence 

Business success 

Efficiency in any undertaking 

Are these things worth while? 

They are all successfully taught at The National School of 
Elocution and Oratory, which during many years has de- 
veloped this power in hundreds of men and women. 

A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on request. 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

Parkway Building Philadelphia 



